Uppsala University Library, Gr. 21
Poetry miscellany, probably for educational use
Venice, 1540s
paper
i, 30, i' ff.
220 × 160 mm
Greek
1
(ff. 1r–25v)
Opera et dies
Ἡσιόδου Ἔργα
Τέλος τῶν ἔργων καὶ ἡμερῶν Ἡσιόδου· ἀμήν. Δέχου τὸ ῥαψώδημα τοῦ συγγόνου ἥδυσμα καὶ παίδευμα Πέρση σῶν τρόπων.
With interlinear glosses and a few longer scholia. Following the main text, there are on ff. 24v–25v also sketches and diagrams relating to it (illustrating e.g. the four elements, agricultural implements, celestial bodies, the zodiac). The sketches may be compared to the illustrations in the Venice print edition from 1537: Trincavelli (1537), f. CXIIv.
f. 9v is blank. The text continues on the next page without interuption.
2
(f. 26r)
A diagram on logical categories
Πᾶν πρᾶγμα ἢ διαιρετὸν ἢ ἀδιαίρετον
ὡς τῶν μελαίνων, τὰ μὲν ψυχρά, τὰ δὲ τερμά
3
(ff. 26v–27r)
Commentarius ad Theocriti Syringem
Τοῦ σοφωτάτου χαρτοφύλακος τῆς ἁγίας Ἰουστι⟨νι⟩ανῆς, καὶ πάσης Βουλγαρίας κυρίου Ἰωάννου τοῦ Πεδιασίμου, ἐξήγησις εἰς τὴν τοῦ Θεοκρίτου Σύριγγα
Dübner (1849), pp. 110–111.
4
(ff. 27v:1–27v:11)
In Theocriti Syringem
(Τοῦ σοφωτάτου ῥήτορος τῶν ῥητόρων κύρου Μαξίμου τοῦ Ὁλοβόλου εἰς τὴν Θεοκρίτου Σύριγγα σύνοψις τῶν μέτρων)
None
⟨Τ⟩ὸ ἐπιγραμμάτιον ἡ Σύριγξ ἔστι μὲν ἐννεάφωνος
ὥστε γενέσθαι τέλειον δίμετρον
Strodel (2002), pp. 40, 126
The manuscript is used for the critical edition.
Strodel (2002), pp. 139–141;
Dübner (1849), pp. 111–112.
5
(ff. 27v:12–27v:36)
Codex Ambrosianus 121 (B 99 sup.)
Strodel (2002), pp. 22, 113
Strodel characterizes these manuscripts as possibly directly related (‘Handschrift S 43, die möglicherweise ebenfalls direkt auf F zurückgeht’).
Strodel (2002), pp. 40, 124
Strodel (2002), pp. 144–147.
5.1
(ff. 27v:12–27v:31)
Commentarius in securim
Τοῦ Ὁλοβόλου εἰς τὸν Πέλεκυν ἐξήγησις συνοπτική
Ὁ πέλεκυς οὐχ ⟨ὡς⟩ ὁ Σύριγξ καὶ οἱ Βωμοὶ
ὄλβιος καὶ εὐτυχὴς ἀεὶ πνεῖ καὶ ζῇ
5.2
(ff. 27v:32–27v:36)
A shorter version or paraphrase of the aforementioned commentary
Ὁ Ἐπειὸς ὁ Φωκεὺς ὤπασε καὶ παρέσχε δῶρον τὸν πέλεκυν
ὃν σὺ ἀμφιδερχθῇς ἵλεως ἐν τῷ θυμῷ καὶ ἐν τῇ ψυχῇ, τὸν καὶ τοῦτον, πνέει ἀεὶ ὄλβιος
6
(f. 28r)
Syrinx
Πρὸς τὸν Σύριγγα ὁ λόγος
With interlinear glosses. The poem is written as a carmen figuratum in the approximate shape of a flute, and includes a frame, a bell at the top end, and eighteen tone holes set in the middle of the pipes.
Gow (1952), vol. 1, p. 256.
7
(f. 28r)
A paraphrase of Theocritus’ Syrinx
Ὦ Σύριγξ, σὺ μὲν ἔχεις ὄνομα σύριγγος
τῇ Καλλιόπᾳ, τῆ νηλεύστῳ, ἀντὶ τοῦ ἕνεκα τῆς κόρης τῆς ἐλλόπιδος, τῆς καλλιφώνου καὶ ἀλιθεύστου
Lindstam (1931), pp. 139–140.
8
(f. 28v)
Ara
With interlinear glosses in the Manuel Holobolus tradition. The poem is written as a carmen figuratum in the shape of an altar with a base and dome.
Kwapisz (2013), pp. 69–70.
9.1
(f. 28v)
Ἐγώ εἰμι ὁ βωμός, ὃν ⟨ἔτευξε⟩ τῆς ἀνδρώας τῆς γυναικός
ὑπὸ τοῦ Ἡρακλέους καὶ ὑπὸ τῶν Ἑλλήνων
9.2
(f. 28v)
Ἐγώ εἰμι ὁ βωμός, ὅντινα ἐμὲ τεῦξεν ὁ μέροψ
ἐν ἀμφικλύστῳ καὶ ἐν τῇ περικλύστῳ λίμνῃ
In the lower left margin the scribe has added an alternative altar shape with reference to the teacher’s exemplar (‘οὕτως εἶχε ἐσχηματισμένος ἐν τῷ τοῦ διδασκάλου’).
10
(ff. 29r–30v)
Carmen aureum
Χρυσᾶ ἔπη τοῦ Πυθαγόρου
With interlinear glosses and commentary. The main text and accompanying paraphrase are connected with the help of reading signs. The rubricized title of the paraphrase, which is given in code, would in plain read Πυθαγορικῶν χρυσέων ἐπῶν φράσις.
Thom (1995), pp. 94–98;
Lindstam (1931), pp. 149–153.
11
(ff. 30v:17–30v:32)
A grammatical treatise
Περὶ συντάξεως
Σημείωσαι ὅτι ὁ βουλόμενος συντάξαι ὀρθῶς
Τρίτον δὲ εἰς δοτικήν, οἷον, ἐγὼ δίδωμί σοι
Support
Endleaves
Support 1
ff. SL1r–SL1v, SR1r–SR1vWestern paper
220 ×
160 mm
Quarto
One blank leaf (except for the signum ‘Cod. Gr. 21’ on f. SL1r) folded around the spine functions as flyleaves on either side of the bookblock.
Textblock
Support 1
ff. 1–7, 10–13, 25–28
220 ×
160 mm
Western paper
Quarto
Watermark 1a
ff. 2/12/1, 5/7,Hat (countermark B)
very similar to
Harlfinger, Chapeau 51
Venice
1542
Bartolomeo Zanetti’s scriptorium.
similar to
Sosower, Chapeau 3
Venice
1542
Andronicos Nuccios
33 mm
32 mm
18 lines
Support 2
ff. 8r–9v
220 ×
160 mm
Western paper
Quarto
This paper of coarser quality was only used for one substitute bifolium. No watermarks visible.
Foliation
Foliation
in pencil by a modern hand: 1–30.
Collation
Textblock
Q1(VI-1post f.7+2f.8–9)f.13 + Q2IVf.21 + Q3(II-1post f.24)f.24 + Q4IIf.28 + Q5If.30
No threads are visible in the quires due to the excessive use of adhesive at the spine. The collation is thus tentative and based on the different kinds of paper and the watermark positions.
none
none
Layout
Script
Textblock
Hand 1
(ff. 1r–30v) Nikolaos Gaitanos Marulos Responsible for all the main texts, and most of the paratexts including rubricized parts, commentaries and glossae. He uses an even, slightly right-sloping humanist minuscule in the style of Camillus Venetus (so-called Camillus-Schrift); cf. Harlfinger (1977), pp. 336–337, plates 16–18.Hand 2
(ff. 28r–28v) A sixteenth-century minuscule hand, probably responsible for the Syrinx paraphrase, the second paraphrase to the Altar (i.e. the one to the left on (f. 28v)), as well as the note in the lower margin on the same page. Note the use of the ‘Fähnchen-Tau’, in conformity with the main scribe.Additions
Endleaves
(ff. LCI, SL1r–SL1v)
Blank except numbers and former shelfmarks: on (LCI) a paper slip with the number ‘II.’ on it; cf. the former shelfmark, ‘n:o 11’, on (f. 1r).
Decorations
Rubrics and initials in red ink on (ff. 1r–25v) and (ff. 29r–30v). On (f. 1r), (f. 12r), and (f. 29r) larger decorated initials (6–7 lines high) and a headpiece with a vegetal pattern consisting of convolute hairlines, buds and curlicues. Similar but smaller decoration and initial on (f. 30v). Red ink is also used profusely for comments and interlinear glosses.
Binding
Pattern-woven silk cover in gold, green, and beige over paper boards. No endbands. Brokatpapier in green and copper is used for pastedowns. For the identical pattern but in different colours, see Heijbroek (1994), p. 120; pattern N:o 72 (manufacturer Georg Reimund, Augsburg, who was active 1746–1755).
225 × 165 × 7 mm
The spine is badly worn and damaged, the boards now being held together provisionally with the help of a slip of brown paper pasted aroung the spine. The bookblock has come loose completely. A lending slip that used to be pasted to f. SL1r is now unstuck.
Origin
Probably written in Venice in the 1540s. Watermarks and the handwriting (in so-called ‘Camillus-Schrift’ style) may suggest a link to the workshop of Bartolomeo Zanetti. Its present binding stems from the mid-eighteenth century.
Provenance
The manuscript was acquired by Jacob Jonas Björnståhl (1731–1779), most probably during his travels through Europe in the years 1767–1779. That it would, as is the case with several of his other manuscripts, have its provenance in one of the Thessalian monasteries, is perhaps less likely given its rather costly binding in silk and brocatpapier.
Acquisition
Came to Uppsala University Library in 1784 as part of the Björnståhl donation.
Former shelfmarks
Björnståhl 11
- Aurivillius (1835),
- Graux (1889), p. 50
- Lindstam (1931),
- Strodel (2002), pp. 40, 124, 126
Statement of Responsibility
Cataloguing: Eva Nyström, Patrik Granholm
Sponsor: Greek manuscripts in Sweden – a digitization and cataloguing project, Uppsala University Library
Funder: Riksbankens jubileumsfond
External Identifiers
Diktyon ID: 64434
Internal Identifiers
Permalink: https://www.manuscripta.se/ms/100021
Last revision: 2019-07-02